1. Field of the Invention
The present invention relates to an electric guitar or other stringed instrument ergonomically designed to maximize comfort and stability of playing positions, both sitting and standing, while producing a minimum amount of fatigue in the instrumentalist.
2. Related Background Art
Heretofore devices exist for use with the guitar in order to make it more easily playable and expressive. One of the most common problems associated with playing the guitar is physical discomfortxe2x80x94particularly back and shoulder painxe2x80x94derived from holding the instrument. Patents: U.S. Pat. No. RE 31,722; U.S. Pat. Nos. 4,592,265; 3,955,461; U.S. Pat. No. DES 410,699; and U.S. Pat. No. 4,339,981 are just a few of the attempts at producing a more comfortable or stable guitar.
Most guitar designs require the instrumentalist""s back to twist when seated with the guitar. The back twists to the right when the guitar is placed upon the right thigh and to the left when the guitar is placed upon the left thigh. Also, when placed upon the left thigh, additional stands or footrests are often used under the left foot, throwing the hips out of alignment. Shoulder strain is often induced from holding the instrument in these positions as well.
Accordingly, it is a primary object of the present invention to provide a stringed instrument, which maximizes comfort of the instrumentalist in multiple playing positions.
The objects of the present invention are fulfilled by providing an ergonomically designed stringed instrument comprising: a main body portion having first and second spaced distal end faces longitudinally thereof, and spaced distal top and bottom faces vertically thereof, and spaced front and rear surfaces; an elongated fingerboard extending from a first one of said end faces; a bridge for supporting strings of the instrument disposed closely adjacent to the second one of the end faces; a leg rest attached to a second end face and extending therefrom, said leg rest being angularly adjustable between selectable supporting positions; an upper horn extending from a region of the top face of the body, said upper horn having a contoured rear surface shaped to conformingly engage the upper body of the instrumentalist; and a belly rest extending from the rear surface of the instrument for engagement with an instrumentalist""s abdomen.
It is the intention of this invention to eliminate the aforementioned problems by allowing the instrumentalist to sit almost perfectly at ease; with a straight back, even hips, and relaxed shoulders. One significant point in achieving this is shaping the guitar body below the bridge as close to the bridge as possible. This shape allows the guitar bridge to rest just above the instrumentalist""s right thigh, as opposed to off the right side of the instrumentalist""s right thigh (the norm in traditional guitar body design). This straightens the instrumentalist""s back as the guitar moves to center, as well as reduces strain in the right shoulder.
With the guitar body contacting the instrumentalist""s right thigh at a point below the bridge near the end of the guitar, a significant amount of the weight of the guitar is shifted to the instrumentalist""s left. This weight is held, and the guitar kept in balance, by the multi-adjustable leg rest. The legrest curves toward the back of the guitar so that it more appropriately rests upon the instrumentalist""s left thigh as opposed to toward his knee. This provides a better sense of balance and stability. The legrest curvature also provides a better angle for the legrest to rest on the chair which the instrumentalist is seated upon when this option is chosen.
Use of the legrest allows the position of the guitar""s neck (and body) to be set to the instrumentalist""s preference and comfort. However, it is the observation of the inventor that even a xe2x80x9cperfectxe2x80x9d playing position can cause fatigue and physical discomfort if it is maintained unchanged for a long period of time. Thus the adjustable features of this guitar body design (legrest, armrest, and side rest) allow the instrumentalist to position himself within a range of ideal positions with instant adjustments. Even odd positions, such as sitting back on a soft sofa or on the floor, can be accommodated. The use of a guitar strap with this instrument will also provide variations in stability and comfort. No other guitar provides such a wide range of adjustable comfort and support options.
The adjustable armrest is designed to reduce tension and fatigue in the instrumentalist""s right shoulder. Typical guitar design requires that the instrumentalist often hold his arm in an up, outward, or back position which can produce fatigue (especially over long periods of time). The adjustable armrest allows the weight of the arm to be held in a natural, relaxed position with a minimum of effort and therefore fatigue. The curvature of the armrest can provide horizontal support, which prevents the weight of the instrumentalist""s arm from falling towards the ground, as well as vertical support, which prevents the instrumentalist""s arm from falling in towards his body. The armrest can pivot as well as slide along a support arm. A variety of armrests, with different heights and curvatures, can also be quickly selected or changed with the use of the quick release armrest clamp. The instrumentalist may also play the guitar with the armrest removed for further variety and comfort.
It is the inventor""s observation that when weight of the right arm rests upon the body of a guitar (traditional design or the current invention) that the guitar tends to spin and fall toward the back of the instrumentalist. This requires extra effort to hold the guitar in place and produces fatigue. To remedy this common problem, the current invention includes an adjustable side rest placed at the back of the guitar just behind the armrest. The side rest transfers weight placed upon the armrest to the instrumentalist""s side and eliminates the guitar""s tendency to spin. Fatigue is greatly reduced and stability increased as the armrest can more fully support weight applied to it. The side rest is quickly adjustable by sliding it along a support base. Different side rest adjustments provide varying degrees of support.
Other ergonomic guitar body features include: a belly rest to provide stability where the instrument contacts the instrumentalist""s abdominal area; a long inward curving upper horn for support against the instrumentalist""s chest, as well as balance; strap buttons located at the end of the long upper horn as well as at the end of the armrest support base armxe2x80x94this provides for better balance of the instrument and does not pull the instrument uncomfortably into the instrumentalist""s body as in traditional guitar design where the strap buttons are located in the same plane as the guitar""s main body (the human body is round, not flat); guitar body shaped and tapered to meet the instrumentalist""s right arm at approximately 90 degrees; the lower edge of the guitar and legrest shaped at approximately 15 degree angle to accommodate the slight backward tilt of the guitar body in playing position; guitar body shaped to allow full fingerboard access; smooth body shaping (cutaway) where the back of the guitar meets the instrumentalist""s ribcage area; and overall smooth body shaping and rounding with a minimum of body size and weight.
Performance related improvements to this guitar include the fixed tremolo bar and fixed tremolo bar locking mechanism. A significant amount of prior art exists describing tremolos as well as several tremolo locks. The basic function of tremolos is to add musical expressiveness by allowing the lowering and/or raising of the pitch of the guitar strings. The disadvantage with most tremolo arms is that they often have to be grabbed for when their effect is desired and then pushed away or allowed to fall when no longer needed. A fixed tremolo bar, which remains instantly ready at the instrumentalist""s fingertips, is highly desirable. This eliminates the need to go grabbing for the tremolo arm at awkward or inopportune moments and provides constant tremolo access. A tremolo bar cavity allows for use of the tremolo by providing space for the instrumentalist""s fingertips to work the tremolo as well as space for the tremolo bar to move in towards the guitar""s body when lowering the pitch of the strings.
The usefulness of a tremolo lock is well documented in prior art. At times, the tremolo effect is undesirable as it can adversely affect the pitch and tuning stability of the guitar. A sliding latch type tremolo lock is included for use with the fixed tremolo bar. This sliding latch tremolo lock provides the ability to instantly lock or unlock the tremolo as desired. No other tremolo lock consists of a sliding latch which engages the tremolo bar. This is due largely to the relative uniqueness of the fixed tremolo bar (most pivot their connection with the base). This lock will only properly engage the specialized fixed tremolo bar. Traditional (unfixed or floating) tremolo arm motion would allow the tremolo arm to be pushed out of the way by the lock latch if attempted.
The usefulness and desirability of guitar pick holders are well documented in prior art. However, most of these are external devices that are clamped or stuck upon the surface of the guitar. These others may function well at holding picks but suffer one or more of the following problems: the pick holder is visually detracting; the pick holder, if placed for optimum convenience of use (in the strumming area near the strings) is physically obstructive to playing, i.e., it can be hit while strumming the strings; the pick holder does not hold the pick in a xe2x80x9cready to playxe2x80x9d positionxe2x80x9d. Therefore, an improved pick holder would hold the pick in a ready position, be mounted unobtrusively and be placed within the strumming area.
A flush mounted guitar pick holder has been included in this invention, built into the guitar body itself. No other pick holder known to the inventor makes this claim. By building the pick holder into the instrument, exact placement and usefulness can be achieved with virtually zero obtrusiveness to the instrumentalist. This design is especially useful for switching between pick and: non-pick (fingerstyle) playing.
Further scope of applicability of the present invention will become apparent from the detailed description given hereinafter. However, it should be understood that the detailed description and specific examples, while indicating preferred embodiments of the invention, are given by way of illustration only, since various changes and modifications within the spirit and scope of the invention will become apparent to those skilled in the art from this detailed description.